20.500.12556/RUL-109752 Podoba, čas in poetičnost filma pri Tarkovskem Tarkovsky on Image, Time and Poetry of Cinema Magistrsko delo poskuša orisati teorijo ruskega režiserja Andreja Tarkovskega, kot jo sam začrta v svojem delu Ujeti čas. Preko osnovnih treh konceptov njegove teorije (podoba, čas in poetičnost filma) poskušam razgrniti večji del avtorjevega teoretskega sistema. Prvi del naloge bo pokazal, kako avtor podobo strogo ločuje od simbola. Njene posebne lastnosti onemogočajo njeno interpretacijo in jo puščajo odprto v neskončno. V drugem del naloge se osredotočim na specifično zmožnost filma, da v kader ujame in zadrži subjektivni čas, ki ga gledalci nato lahko začutijo zaradi njegovega »pritiska«. Tarkovski se oddalji od sovjetske šole montaže, ki pravi, da režiser ritem filma ustvarja z montažo, in se postavi na nasprotni pol, ki trdi, da je pritisk časa, ki je ujet v kadru, ta, ki določa ritem filma. V tretjem delu naloge se poetičnost izkaže za poseben odnos do resničnega in je močno vezana na dar natančnega opazovanja življenja. Ta zmožnost opazovanja pride do očitnega izraza v japonski pesniški obliki haiku. Da lahko tudi film dosledno prikaže opazovano življenje, mora dramsko logiko, ki jo je prevzel iz literature, zamenjati za poetično logiko. V tem je skrita poetičnost filma, ki avtorju omogoči, da na platnu ustvari lasten svet, ki ga gledalec nato lahko ne le raziskuje, temveč v pomembnem smislu z avtorjem tudi so-ustvarja. The Master’s thesis attempts to delineate the theory of the Russian director Andrey Tarkovsky as he himself described it in his work Sculpting in Time. An extensive part of his theoretical system shall be presented through three theoretical concepts: image, time and poetry of cinema. In the first part of the thesis, we will examine how the author strictly separates an image from a symbol. It is because of its special characteristics that the image can be interpreted and remains open ad infinitum. In the second part, we shall focus on the specific capacity of cinema to capture and retain subjective time that viewers can then experience due to its “pressure”. Tarkovsky distances himself from the Soviet montage theory, according to which a director creates the rhythm of a film through editing, and disputes it by claiming that it is the pressure of time in a shot that determines the film’s rhythm. In the third part, it shall become evident that the poetic aspect is, in fact, a special attitude towards reality and that it is closely related to the gift of observation of life. This ability of observation is strongly reflected in the Japanese poetic form haiku. In order for film to consistently present the observation of life, the dramatic logic, which was adapted from literature, must be replaced by the poetic logic. Therein lies the poetry of cinema that gives the author the possibility to create his own world on the screen, one that the viewer can then not only explore, but in a very important sense also co-create with the author. Tarkovski podoba čas poetičnost film filozofija Tarkovsky image time poetry cinema film philosophy true false false Slovenski jezik Angleški jezik Magistrsko delo/naloga 2019-09-08 07:15:39 2019-09-08 07:15:42 2022-08-21 03:44:14 0000-00-00 00:00:00 2019 0 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 1970-01-01 438077 2491.pdf 2491.pdf 1 5825355B4BA326FAC41271A33775CEC3 2dd1b7e3244ac4c0aec84cfd723aa298bc38c1635713a0d2d80991c9393ff28b f25579f3-a1b6-11eb-a523-00155dcfd717 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=121343 Filozofska fakulteta 0 0 0